<\/p>\r\n
In today\u2019s entry, we address the theme of the bicephalous figure in gargoyles<\/a>. In order to enter the world of this monstrous creature, we shall begin by broadly explaining the significance of beings with two or more heads or with a multiplication of bodily members.<\/p>\r\n <\/p>\r\n With regard to the multiplication of limbs or features in art, Gombrich states that such accumulation intensifies the terrifying character of the represented figures, as occurs with the seven-headed Hydra or Cerberus. This theory is related to the need to protect places and buildings, a concept that has existed since Antiquity, as demonstrated, for example, by the guardian bulls of Assyria (2150\u2013612 BC), which flanked the entrances to cities and palaces and possessed five legs in order to appear complete from every angle. In general, these figures were intended to assume terrible and demonic forms so as to appear more dangerous and threatening, functioning as apotropaic images, an issue already discussed in relation to the symbolism<\/a> of gargoyles.<\/p>\r\n The prophetic books constitute a fundamental source of monsters<\/a> in the history of art, and within them we find abundant examples of beings with multiplied heads or limbs. In Daniel\u2019s vision of the four beasts, these are described as a lion with eagle\u2019s wings, a bear, a leopard with four wings and four heads, and a fourth beast with ten horns and another small horn that emerged, endowed with eyes and a mouth (Dan. 7:1\u20139). The most complete source, however, is found in the Book of Revelation<\/em>: the red dragon with seven heads, seven diadems, and ten horns \u2014 Satan \u2014 against whom Michael and his angels will fight (Rev. 12:3\u201310 and 20:1\u20137); the beast rising from the sea, with ten horns bearing ten diadems and seven heads with blasphemous titles, resembling a leopard, with bear\u2019s feet and lion\u2019s jaws; and another beast, at the service of the former, with two lamb\u2019s horns that spoke like a serpent (Rev. 13:1\u201313). Likewise, we find the vision of the four living creatures covered with eyes, the Tetramorph (Rev. 4:6\u20139).<\/p>\r\n In his Inferno<\/em>, Dante mentions several mythological beings, such as Cerberus (Inferno<\/em>, Canto VI, 21\u201324). His work is also an indispensable source for demonic iconography: \u201cWith open wings a dragon lay [\u2026] leaving scorched whoever stood before it\u201d (Inferno<\/em>, Canto XXV, 21\u201324); or \u201c\u2026 and a serpent with six feet leaps upon one\u2026\u201d (Inferno<\/em>, Canto XXV, 48\u201351). Particularly magnificent is the description of Lucifer: \u201cMy mind was seized with wonder there, \/ for he had three faces upon his head. \/ One in front, and that was red; \/ the other two were joined to this one \/ above each shoulder \/ and met together at the crest [\u2026] Beneath each face spread two great wings [\u2026] bat-like they were, and lacked all feathers, \/ yet they flapped continuously [\u2026] tears flowed from six eyes \/ mingling with bloody froth. \/ With each mouth he crushed a sinner, \/ grinding them like flax, \/ punishing all three alike\u201d (Inferno<\/em>, Canto XXXIV, 36\u201357). This association between the multiplication of features and limbs and the demonic realm is also linked to the figure of the gastrocephalus<\/a>, which we discussed in a previous entry.<\/p>\r\n In his research, Baltru\u0161aitis notes that the sources that have continually nourished fantasy, legends, and monsters derive from Classical Antiquity, Islam, and the Far East, such as the multi-headed Sumerian genies or the Hittite demon of Tell Halaf with two lion jaws, originating from Phoenicia, India, and Egypt. This suggests that, throughout history in the West, such images were repeatedly reinterpreted and adapted. This idea can be observed, for example, in certain monsters such as the multi-armed figures of Eastern divinities, as well as in the accounts of Saint Isidore concerning men with numerous hands, or Marco Polo\u2019s descriptions of the idols of the island of Zipangri with multiple faces and hands.<\/p>\r\n The image of the bicephalous figure may be linked to the god Janus Bifrons, the divinity who simultaneously observes East and West. Some identify him with the sun, and he is represented with two faces as lord of both gates of heaven because he opens and closes the day. He is commonly depicted with a key in one hand and a staff in the other, indicating that he presides over and guards doors and pathways. He possesses two faces because he exercises dominion over sea, sky, and earth. Everything opens and closes according to his will, and he alone turns the world upon its poles.<\/p>\r\nGargoyles and the Multiplication of Features in the Monstrous Imagination<\/h2>\r\n